The fixture emits a soft and comfortable illumination.
The metal version directs the light directly downwards and creates a soft and comfortable illumination due to the inner white painted shade and the reflection from the trumphet shaped stem. The acrylic version leaves a diffuse comfortable light atmosphere due to the colour and the downward reflection from the inner shade.
LED-driver: Separate, plugs into power outlet.
Light control: Inline switch with three light levels.
Light source: 10W LED 2700K 40 lm/W
Class: Ingress protection IP20. Electric shock protection II w/o ground. Energy Class A++ - A.
News for fans of Verner Panton: Mini-version of Panthella in imaginative colours
Press release, 26 May 2016
Louis Poulsen is now launching a mini-version of the iconic Panthella lamp with a diameter of 250mm – scaled down from the standard 400mm size. Panthella MINI features painted metal shades and will be available in eight eye-catching colours from Verner Panton’s own colour spectrum: yellow, orange, mauve, red, pink, blue and two shades of green. Versions in white, black and opal acrylic will also be on sale. The miniature Panthella features three light intensities and the latest LED technology and will be in stores as from September 2016.
The colours are drawn from the last project Verner Panton was working on before his death in 1998: 'Lyset og Farven' ('Light and Colour') exhibition hosted at Trapholt Museum of Modern Art in Kolding, Denmark, which took the form of a complete installation comprising eight rooms in different colours, where the furniture, light fittings and fabrics, created by Verner Panton over a period of 50 years, were framed in a holistic presentation of colours and light. Colour and imagination were two key elements in the world of Verner Panton, and Louis Poulsen has chosen the new colours for the Panthella MINI from the spectrum that Verner Panton himself had selected for the remarkable universe that was 'Lyset og Farven'.
Panton-fever still going strong
“Verner Panton originally developed the Panthella lamp in partnership with Louis Poulsen in 1971. He originally wanted to have Panthella launched with a metal shade. In other words, the Panthella MINI is a world first, based on Verner Panton’s original drawings,” relates Rasmus Markholt, Design Manager at Louis Poulsen.
While most other Danish architects and designers in the 1950s and 1960s were working with wood and other natural materials, Verner Panton’s predilection for new materials saw him develop into a specialist in steel, plastic, Plexiglas and fibreglass. His design work involving synthetic materials was trail-blazing, and he was a pioneer in the field of designs using circles and rounded shapes before they became mainstream style under the banner of ‘organic design’. According to Rasmus Markholt, this is one of the reasons why Verner Panton’s lamps – especially the semi-spherical Panthella lamp with its trumpet-shaped foot – has become a true design icon with an edge to it.
“Since the retro-wave of the 1990s rolled over us, enthusiasm for Verner Panton’s lamps has risen sharply. His products are in great demand at auction houses all over the world, and we have received a great many requests for a Panthella lamp in a smaller format, designed to stand on window sills, shelves, tables or other limited surfaces,” he says.
Panthella MINI will be in stores from September 2016.
For details of dealers, see www.louispoulsen.com.
About Panthella MINI, with its new painted colours
Louis Poulsen’s miniature version of Verner Panton’s iconic Panthella measures 250mm in diameter, while the original version from 1971 measured 400mm. The new version is being launched with metal shades, true to Verner Panton’s original idea.
Verner Panton originally developed the Panthella in partnership with Louis Poulsen in 1971. His idea was to have Panthella launched with a metal shade, but this was not possible from a technological perspective at that time. That is why what is being launched now is a world first, based on Verner Panton’s original drawings. The new metal shades are white on the inside and direct the light downwards, from where it is reflected up and out into the room from the trumpet-shaped foot.
The colours are drawn from the last project Verner Panton was working on before his death in 1998 ('Lyset og Farven' – 'Light and Colour' – exhibition at Trapholt Museum of Modern Art in Kolding, Denmark): yellow, orange, mauve, red, pink, blue and two shades of green. Panthella MINI will also be available in white, black and opal acrylic.
Panthella MINI features three light intensities and the latest LED technology and will be in stores as from September 2016.
About Verner Panton and his light design
Even though the internationally celebrated Danish designer Verner Panton (1926–1998) drew inspiration from his close friends Poul Henningsen (PH) and Arne Jacobsen – he married and had a son with Tove Kemp, PH’s step-daughter, and worked on projects such as the Ant in Arne Jacobsen’s design studio – he was one of a kind, an avantgarde designer who was deadly serious about his furniture, light fittings and textiles. He broke with the norms and standards of the age, which dictated that architects were to work with craftsmanship in wood and with other natural materials. In contrast, Panton preferred innovatively designed products and chose to work in plastic, fibreglass, Plexiglas, steel, foam rubber and other synthetic substances. In 1961, he left Denmark and settled in Switzerland. At that time, his products were attracting appreciable attention internationally, but not so much in his home country. Among his most famous designs are the Panton chair – the first chair in the world to be made entirely of plastic – the Panthella and Flowerpot lamps, and his complete settings, where design, architecture and art interacted to create new relationships.
In his work with lighting, Panton was far in advance of his time, concerning himself with the ambience he sought to create. During the period 1955–1998, he developed fully 25 different lighting solutions, the majority of which were manufactured by Louis Poulsen. His light designs can be split into two categories: the first being organic, with a host of composite elements, while the second is distinguished by its use of simple geometric shapes – especially full- and half-spheres. His lamps have built up a good deal of respect – particularly the Flowerpot and Panthella, which became best-sellers as soon as they appeared on the market in 1968 and 1971, respectively.
About Louis Poulsen – the light manufacturer with a bright lighting philosophy
Louis Poulsen is a world-famous Danish manufacturer of designer lamps that has been supplying the market for 140 years. Through close working relationships with elite designers and world-famous architects – both contemporary and now departed – such as Poul Henningsen, Arne Jacobsen, Verner Panton, Vilhelm Lauritzen, Øivind Slaatto, nendo/Oki Sato, Shoichi Uchiyama, Anu Moser and Louise Campbell, the company has created lighting solutions including the PH Artichoke, the PH 5 and a host of other PH models, as well as the Collage, Enigma and AJ series. Briefly put, a range of lighting solutions that covers everything from classics to sophisticated design, for private and professional use.
A large proportion of Louis Poulsen’s products have been developed in connection with specific projects. The designer lamps have thus come into being as solutions to specific lighting assignments.
In other words, behind every Louis Poulsen product is the story of its creation. These are products whose designers focused on light itself, on the idea behind the product, and on refinement of an architect’s, light designer’s or furnishing designer’s ideas and visions about light – all in harmony with Louis Poulsen’s own lighting philosophy, which is explained in more detail below.
The history of Louis Poulsen in brief:
• The company can trace its history back to the end of the 1800s. In the early 1900s, Louis Poulsen took over management of the business from his uncle. This marked the start of Louis Poulsen as we know the company today.
• The year 1924 saw the initiation of Poul Henningen’s (PH) working relationship with Louis Poulsen & Co. when the designer was looking to participate in an international exhibition for decorative art in Paris: the Exposition Internationale des Arts Décoratifs & Industriels Modernes. PH won the gold medal at the prestigious event.
• In 1926, Louis Poulsen and Poul Henningsen won the tender to create the lighting solution for the newly built Forum building in Copenhagen. This resulted in the now legendary PH lamp with three shades. Marketing of the lamps was launched that same year. The company’s first catalogue was published with text in Danish, English, French and German.
• In the 1920s, Poul Henningsen continued to develop Louis Poulsen’s lighting philosophy that became a strong, timeless cornerstone throughout the history of the business – and which the new management today has dusted off and endorsed in full. Briefly put, the lighting philosophy is founded on three concepts: Function – Comfort – Ambience. The functional objective of the light must always be fulfilled; no component is to be incorporated into the light unless it has a clear, light-related function.
• In 2005, Louis Poulsen moved production from its Sluseholmen premises to a new location in Vejen, Jutland, with 180 workplaces.
• Louis Poulsen currently employs 420 people at its factory in Vejen, its head office on Gammel Strand in Copenhagen, and showrooms in cities including Stockholm, Tokyo, Oslo and Los Angeles.
• Louis Poulsen has now consolidated its development, sales and marketing activities at Gammel Strand 28, where the company has its head office and showroom (where visitors are welcome to call in).
Verner Panton (1926-1998) is famous for his inspirational and colorful personality. A unique person with a special sense for color, shape, light function and space.
Over the course of his career, Panton introduced a series of modern lamps with personalities unlike any of his Scandinavian contemporaries.
With remarkable faith in the unlimited possibilities of form, he worked successfully to create a new set of theories about light function and influence.
'The main purpose of my work is to provoke people into using their imagination. Most people spend their lives living in dreary, grey-beige conformity, mortally afraid of using colors. By experimenting with lighting, colors, textiles and furniture and utilizing the latest technologies, I try to show new ways, to encourage people to use their imagination and make their surroundings more exciting'. - Verner Panton
Verner had a very clear attitude regarding his work and regarding shape, color and function. At the same time, he made conscious and brave use of different materials. His use of different materials often led to his contemporaries disparaging the 'timelessness' of his design. The great interest in his design today proves the opposite.